ISSUE NO. 21 • OCT. 9 - OCT. 15, 2013 • MUSIC ISSUE

the musicissue

RECORD STORES EVOLVING CCM’S “CARRIE” SELLS OUT DIRECTOR SAVED UC BAND

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MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 2

WHAT’S YOUR FAVORITE ARTICLE IN THE MUSIC ISSUE?

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WHAT’S THE BEST CONCERT YOU’VE EVER BEEN TO?

BEST SONG TO BUST A MOVE TO?

The Autumn Album Preview.

The National — Louisville, Ky., 2013. There was Bulleit Bourbon for $5 and it was a perfect night in just about every way.

I have bad knees. But if I had to bust a move, I’d want to bust it listening to “Come On Eileen” by Dexy’s Midnight Runners.

CCM “Carrie” article on Page 5

I think I had a pretty good time at Bunbury ...

I like to dance like Bu� alo Bill at least once a day.

That cover photo ... Iron Maiden. You can’t beat Bruce Dickinson screaming the lyrics to “The Number of the Beast” whilst surrounded by fl amethrowers.

Ever since “Little Miss Sunshine,” Super Freak by Rick James.

The vinyl article on Page 4.

Maroon 5. I’ve loved them forever, and seeing them in person was an amazing experience.

My dancing is pretty limited, but I’ll dance to anything that comes on the radio.

Very cool story on vinyl sales at local record stores on Page 4.

I’ve seen the Rolling Stones twice, but Bonnaroo — Jake knows what I’m talking about — was the best experience ever. Best single concert was, by far, Buddy Guy.

I’m really too old and out of shape to dance but I seem to remember dancing a lot to “Ain’t that a Kick in the Head” by Dean Martin sophomore year.

They are all solid articles. The one about music classes at UC is cool. I like the one about vinyl too.

I have been a life-long fan of Brand New and just saw them. I’ve also been lucky enough to attend Bonnaroo twice and seeing Radiohead there was breathtaking.

I dance all the time to pretty much anything but LCD Soundsystem is usually my go to when I’m trying to groove.

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YouTube. An eclectic assortment of Gorillaz, Deltron 3030, Nobuo Uematsu, more Gorillaz, and maybe some Joe Hisaishi. Topped o� with Gorillaz.

All of the concerts I’ve been to in Cincinnati have been at Riverbend, and it’s always a good experience.

I’m happy with anything except for country.

I really don’t go to a lot of live shows, but as long as they have cheap drinks, it’s bound to be a good time.

Honestly anything. But Marvin Gaye is usually a must.

Cincinnati has some of the best venues around. I’ve seen a lot of my favorite bands at Bogart’s and I like all the new changes.

Recently it has been Title Fight, Je� Buckley, The Story So Far, Phantogram, Crystal Castles and Phil Collins.

I have to give a lot of credit to the new owners of Bogart’s. The acts, venue and overall atmosphere have really improved.

I fi rmly believe every playlist should include at least one Rolling Stones song, “Baba O’Riley” by the Who and, of course, “Bette Davis Eyes” by Kim Carnes.

It’s not a concert venue, but the music is always awesome at Django in Northside. Plus, Thursday Jazz nights are a good time there.

I can do a mean “Bernie” on the weekends.

And Ryan is right. Marvin Gaye all day.

WHERE IS THE BEST CINCINNATI VENUE TO GO TO FOR GOOD MUSIC?

WHAT DO YOU LISTEN TO DURING THE WEEKEND?

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Big names alongside solo acts are coming out with new work; delayed albums, surprise collaborations, rumors revealed MATTHEW ADAMS STAFF REPORTER

Arcade Fire – “Reflektor” Oct. 28

Little by little, details of Arcade Fire’s follow up to 2010’s Grammy Album of the Year “The Suburbs” have been revealed.

Rumors of LCD Soundsystem leader James Murphy producing the album began to spread last year. Recently, reports surfaced of the band performing new songs at what turned out to be the filming of their half-hour special that ran after the premiere of “Saturday Night Live” two weeks ago.

As reported, the set showcased an entirely new, dance-oriented direction from the quintessential indie rock group.

This was reaffirmed by the release of the title track, which came in the way of two separate music videos — one an interactive Google Chrome experiment — and features guest vocals from David Bowie.

As if that isn’t exciting enough, “Reflektor” was announced to be a double-album featuring few sub-five minute tracks.

With one of the strongest discographies in recent memory to build on, Arcade Fire is treading new ground with the same signature histrionics and nuance that has made their past body of work so satisfying.

D’Angelo – Title TBA, release date TBA

Thirteen years in the making, D’Angelo is returning after releasing arguably the most significant work of the Neo-soul genre, “Voodoo” in 2000, and his mental breakdown following its massive success. With countless rumors circulating throughout the past decade, the new album is reportedly in its last stages and intended to be released at the end of the year.

Alleged album collaborators include Prince and Kanye West, with Questlove again both drumming and producing.

The singer-songwriter has returned to the stage, touring Europe as part of a promotional tour and debuting cuts from the new album. Though no title or specific release date have been announced, D’Angelo’s third LP is surrounded by a hype artists seldom have the opportunity to boast.

Kronos Quartet – “Bryce Dessner: Aheym” Nov. 5

Cincinnati-native Bryce Dessner keeps busy. He writes, produces and plays guitar in The

National, was behind Red Hot Organization’s 2009 charity compilation, “Dark Was the Night” and, in 2006 he founded the annual Cincinnati music festival MusicNOW.

Dessner’s latest project — an album of his compositions in collaboration with the contemporary classical string ensemble Kronos Quartet — expands his breadth of work even further.

The title track, “Aheym,” meaning “homeward” in Yiddish, is just one of four pieces on the album that

spans diverse influences of Czech folk music and Chilean poetry.

Visual artist Matthew Ritchie created a music video for “Aheym” by animating his own paintings, and it is currently available online.

The song itself is dynamic and vast exploring both the frantic and calm — a far cry for his work with The National, but fitting for a career such as Dessner’s.

M.I.A. – “Matangi” Nov. 5

After multiple delays from major label Interscope, leading to threats from the artist to intentionally leak the album herself, M.I.A.’s “Matangi” is finally being released in November.

The album’s single, the well-received “Bad Girls,” was released way back in January of 2012, and since then both “Bring the Noize” and “Come Walk with Me” have been released as promotions.

The British/Sri Lankan songwriter described the genre of her new release via her twitter as “Paul Simon on acid.”

A bold statement to make, but M.I.A., who recently was sued by the NFL for $1.5 million over her giving the middle finger during last year’s Superbowl half-time show, has never been short on audacity. The LP features production credits from Hit-Boy, whose recent work includes ASAP Rocky’s “Goldie” and “Niggas in Paris” by Jay Z and Kanye West, and French electronic artist Surkin.

“Matangi” has been a long time coming, and with a conviction as strong as M.I.A.’s, it’s hard to believe that it will not be worth the wait.

MUSIC ISSUE WEDNESDAY, OCT. 9 / PAGE 3

TNR: Most anticipated autumn album releases

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MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 4

Local record store owners see increase in vinyl sales Online music sales challenge city music stores; young people’s vinyl interest keeps stores thrivingALEXIS O’BRIEN CHIEF REPORTER

One would expect the ever-changing music industry to hurt local music shops, but popular Cincinnati record stores are doing well despite digital-download trends.

It also doesn’t hurt — at all — that 20-somethings have a record-high interest in buying vinyl records.

“It’s awesome that people have discovered the joy of how much fun it is to play records over an MP3 or CD,” said Jim Blase, Shake It Records co-owner. “People are either getting into vinyl again or the younger listeners are falling in love for the first time.”

Shake It Records, which is also a music-publishing group, occupies a large retail space in Northside.

Until about five years ago, vinyl sales made up about 10 percent of Shake It’s total sales, and now vinyl accounts for about 40 percent.

“Obviously that’s helped us tremendously, but it’s also a challenge to go out and find great older records,”

Blase said. “We want to sell the best, cleanest copies we can.”

The store currently stocks 30,000 CD titles and approximately 8,000 vinyls, and has used CD and LP selections.

“Everyone wants to start with the standards of music — The Beatles and Led Zeppelin, The Doors and Pink Floyd,” Blase said. “Everyone’s looking for those records all the time, so trying to keep that stuff in stock is a challenge.”

Dean Newman owns Cincinnati’s longest operating record store, Mole’s Record Exchange, and also appreciates the younger generation’s peaked interest in vinyl.

“Kids are coming in and wanting to buy classics — Zepplin, Stones, Pink Floyd,” Newman said. “They want the classic seventies kind of stuff, and lately I’ve seen a little bit of an uptick in soul in vinyl. It’ll be trendy for a little bit and then it’ll go away.”

Mole’s is located less than two blocks from the University of Cincinnati in the 100 block of Calhoun Street and sells vinyl records primarily to college-aged customers.

“With MP3s, there’s nothing to touch,

feel, see, so now kids are in awe of vinyl. It’s something they can connect to as opposed to being a digital download, which is nothing,” Newman said.

“It’s like CDs became popular because their listeners — moms and dads — had vinyls, and now kids are buying vinyls because their parents have CDs. People don’t want to be their parents. It’s old to have a CD,” Newman said.

Mole’s sells CDs to older customers as well, so without vinyl sales during times like Summer semesters when most students are not enrolled in classes, business stays strong.

“I can go one Saturday where everything I sell is vinyl, and the next Saturday is all CDs,” Newman said.

Everybody’s Records manager Woody Dorsey said his store wouldn’t ever sell CDs like it used to due to the popularity of digital downloads. But at the same time, digital downloads and music-streaming services are exposing listeners to a larger variety of artists and bands, which is leading people to purchase CDs of lesser-known artists.

“Pandora and Spotify have helped with that, though, by recommending other

bands listeners might like,” Dorsey said.Everybody’s is located in Pleasant

Ridge and calls itself one of the city’s most comprehensive record stores, carrying every genre and selling some vinyl for less than a dollar.

“If we keep offering a wide selection and good prices, we should be all right,” Dorsey said.

Thursdays through Saturdays Everybody’s sells mostly CDs; Sundays are when vinyl customers come in to buy. Though the store’s business has remained steady, Dorsey said digital downloading is affecting the music industry through record companies and whom they can, or can’t, sign.

“You don’t see a lot of great [new] music,” Dorsey said. “Record companies don’t really have money to look for bands, so they read blogs to see what’s popular, and lack of great music leads to a lot of short careers.”

He said as long as companies don’t overprice records, the popularity should last.

“They’re a more physical and visual thing, like reading a book,” Dorsey said. “You sit down and invest time in it.”

MADISON SCHMIDT CHIEF PHOTOGRAPHERShake It Records in Northside sells CDs, books and records to people across the Cincinnati area.

PHIL DIDION PHOTO EDITORTom Scheidler, manager at Mole’s Record Exchange, stands behind the counter of the oldest Record shop in Cincinnati located in the 100 block of Calhoun Street.

MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 5

Shutting out noise: best soundtracks for successful studyingCarefully selected songs create efficient atmosphere, block out distractions WILL KENDRICK STAFF REPORTER

When I’m trying to study, my biggest problem is noise distraction.

My apartment is a waiting room for all my friends to come to when they are bored and need some good conversation. I’m not complaining, mind you. I like the bustling atmosphere of my home situation, but it does make studying a bit difficult.

I’ve tried to study at school, but it’s the same situation. With the exception of the rare and always packed-to-the-brim study rooms around campus, and the quiet but uncomfortable hallways, the campus is also a

busy and loud environment. Although fun and bright, is not very conducive for studying.

These are the main reasons why I like to listen to music.

When selecting music to study to, another whole set of factors must be accounted for. Essentially, music can offer the same problem that the outside noises can offer: too much noise.

Loud guitars, squealing keyboards, pounding drums and belting vocals equate to the same types of distractions that my friends do at my apartment and the festivals at the campus. There’s simply too much noise.

When I study, I set up my iPod, slap on my faithful Koss PortaPro headphones that I’ve used since high school, turn it up all the way and fade out to some good electronic ambient music.

Ambient music offers the perfect atmosphere for studying. It’s not distracting in any fashion; it’s practically elevator music. Artists like

Brian Eno, Plastikman and Takeshi Kobayashi have become the soundtrack to my academic life. I listen to these artists for everything that requires my attention to be on something other than the music itself. I’ll throw on clearing’s majestic and creepy record “Keepsake” when writing English papers or zone out to Brian Eno’s “Ambient” series when reading up about astrology.

Ambient music is quiet, slow burning and, when turned up to high volumes, practically noise cancelling. I can fall asleep to these records, write stories to these records and have some of the deepest and furthest thoughts while listening to these records.

A few other genres that can be used in this same fashion are noise music, hip-hop instrumentals and film scores. I have written a few essays over my academic career to Lou Reed’s intangible and unlistenable masterpiece “Metal Machine Music” which, believe me, produces some truly fascinating results on

the page. The first time I ever attempted to write a novel, I wrote every word of it to Trent Reznor and Atticus Ross’s score for the American version of “The Girl with the Dragon Tattoo,” a three-hour-long exercise in restraint and glacier-like shifts in tone. MF DOOM, a fantastic underground rapper, has released a series of instrumentals under the alias Metal Fingers that are great for hyper-involved projects like creating slide shows or paintings.

When doing anything academic, whether studying, writing papers or simply thinking about upcoming projects, I find anything too noisy to be distracting and counter-productive. You won’t find me typing a 10-page essay while listening to “Bangerz;” that type of music is good for parties and twerking. Ambient music and noise rock are perfect for academia. I highly recommend, to anyone looking for a good soundtrack to accompany a study session, to give these impenetrable and fascinating genres a try.

PROVIDEDCCM’s rendition of the classic horror story “Carrie” sold out within minutes of going on sale Saturday.

Fresh take on “Carrie” conveys horror through songCollege-Conservatory of Music’s sold-out production promises to chill, enthral audience membersEMILY BEGLEY COLLEGE LIFE EDITOR

Little light exists in Carrie White’s life. Each day is an endless struggle, beginning

with bullies at school and ending with a maliciously protective mother at home. Things begin to change, however, when Carrie makes a peculiar and dangerous discovery — paranormal abilities she can use to fight back.

Originating as a 1974 novel by Stephen King, “Carrie” has garnered widespread popularity that is still maintained today.

The University of Cincinnati’s College-Conservatory of Music will perform its take on the timeless tale this weekend, kicking off their 2013-14 Studio Series with a musical revival of “Carrie.”

Since publication, the story has been depicted in multiple adaptations both on and off stage. A 1976 film adaptation directed by Brian de Palma is particularly prominent, painting the atypical high school student as a beaming prom queen turned bloodthirsty retaliator.

CCM’s performance is the first in more than two decades to perform the tale as a musical; the feat was last executed during an acclaimed 1988 Broadway production. The show will put a new spin on the ’80s version, said Curt Whitacre, CCM public information officer.

Audiences will also be brought close to the

action through a specific seating arrangement. “Carrie” will be held in the intimate setting of CCM’s Cohen Family Studio Theater in which seats surround the stage.

CCM’s Studio Series follows in the footsteps of their impressive Mainstage Series, which boasts an audacious lineup that includes “Singin’ in the Rain” and “Les Misérables.” Taking on a classic like “Carrie” is a bold undertaking that must be executed expertly to meet the expectations of audience members.

Delving into the musical aspect of the show adds additional challenge and artistry. Because “Carrie” is a horror story, lyrics and melodies must be carefully crafted to maintain the show’s unnerving atmosphere. Songs that are too bright or uplifting in nature — whether because of its words, key or other musical elements — will take away from the plot.

CCM’s talented performers have proven more than capable in the past. In similar situations – such as a divergent take on William Shakespeare’s “A Midsummer Night’s Dream” as part of their 2012-13 Mainstage Series — actors and actresses have tackled performances with ease, completely immersing audience members as a story unfolds onstage.

The seating situation enabled by the Cohen Family Studio Theater will add an additional element to the play. Being so close to the stage will make it difficult to avoid being chilled by the play’s cringe-worthy events, involving audience members in the show rather than deeming them onlookers.

The play also coincides with the upcoming release of director Kimberly Peirce’s film adaptation of “Carrie,” which will hit theaters

Oct. 18. The movie casts Chloë Grace Moretz of “Kick-Ass” as Carrie and Julianne Moore as her overprotective mother.

Tickets for CCM’s performances of “Carrie” Oct. 10-12 sold out within minutes of them going on sale, Whitacre said; students interested in attending are encouraged to call the CCM Box Office to be placed on a waiting list. The show is recommended for mature audiences only.

Although the play creates a challenge simply because “Carrie” is so well-known, talented actors and actresses are expected to masterfully portray the plot, presenting chilled audience members an exciting beginning to CCM’s 2013-14 Studio Series.

PROVIDEDSeating arrangements enabled by CCM’s Cohen Family Studio Theater allow audience members to view the action from all sides of the stage.

MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 6

Cincinnati band erupts into pop-punk scene with debut EP

UC gives students opportunity to add music to curriculumSpring semester could be more entertaining with music coursesROBERT BREEN CONTRIBUTOR

For those who always wanted to take a music class but didn’t think it was possible due to lack of musical aptitude, rejoice. The University of Cincinnati’s College-Conservatory of Music is one of the nation’s most renowned performing arts schools. However, CCM also offers classes for non-music majors.

Students with no background in music but with an interest in learning more about performing arts can take classes such as Live at CCM, Music in Film, Jamming with Laptops and Music of the Beatles.

Live at CCM offers students the chance to experience a classical concert environment. Students can choose which concerts to attend out of the 30 performances a semester. Non-music

majors get a chance to be exposed to the world of performing arts, enriching their lives and providing them with lifelong memories. Maestro Mark Gibson teaches the class and advocates for students to experience the prodigious institution that is readily available to them.

“We give entertaining, world class performances almost everyday,” Gibson said.

The class is very popular and students who take it are eligible to sign up again. Gibson created the class four years ago as a way to spread awareness of CCM to the UC community.

Music in Film teaches students about the significant role music plays in cinema. The class provides an overview of the history of film scores from the Silent-Era to today. It’s also about music’s impact in horror films. Topics covered in this course appeal to students with an interest in film or music. Students learn to be more cognizant of the music being featured in

movies, not just the soundtrack, but also the music playing within the story as well. Doug Easterly, a doctoral student and professor of the class, claims the class has a lasting impact on the students who enroll.

“For the rest of their lives, it changes the way students watch movies,” Easterly said.

Music is an integral aspect of film development and this class offers the means to appreciate the vast importance of music in film.

Jamming with Laptops exposes students to the world of creating music with a laptop. Not your typical music class, students learn how to produce music on their computers rather than on traditional instruments. This course also provides an analysis of the history of computer-generated music. A variety of technical topics, such as analog versus digital sound, audio software, special effects as well as audio programming languages are the focus of this class. Students with

Beatle mania can learn more about the iconic rock band in the class Music of the Beatles. The Beatles were an enormous influence on music in the ’60s and continue to inspire contemporary artists. This class studies the history of the band as well as its intricate inner workings, such as song writing, arranging and even song structure. Students who take this class will also discover how the enormous cultural power of four men continues to wield. Professor Robert Klug wrote the class from scratch. He’s been teaching it for four years and continues to tweak it each new session. The class is offered online but it is not the same experience as taking the class in a lecture hall.

Klug originally thought only 70 people would take the class but it was immensely popular and now more than a hundred students enroll. Klug assures that the class is for everyone whether they only know “Yesterday” or are self-proclaimed Beatle maniacs.

‘Intents and Ends’ takes classic pop-punk formula and creates new sound ALEX BALBOA CONTRIBUTOR

Joining the ranks of past and present greats like Citizen, Maker and Ghost Stories to release music through Either/or Records Cincinnati natives Armslength look to burst onto the pop-punk scene with their debut EP later this month.

The band is self-described as “honest and pointed,” and

Armslength’s debut EP is no different. Lasting just under 20 minutes, “Intents and Ends” is a fast-paced showcase of talent, energy and technical creativity. Fans of pop-punk staples like The Story So Far and Citizen will find a sense of familiarity with this pop-punk/rock outfit.

Highlighted by lead vocalist Joe Trame’s impressive range, Armslength’s first single “Intent” encapsulates much of the mood from this EP. Clocking in at 3:17 and full of quick hitting guitar riffs and vocal leads “Intent” is fast, angry and uncompromising.

Backing up Trame’s vocals, guitarist Brendan Holmes and bassist Brad Kennedy impress with standout harmonies and yells. As a whole, “Intents and Ends” impresses lyrically just as much as it does musically. Kennedy’s hardcore background comes out in “Intent,” and his vocals are unforgivingly honest: “Take the words you need to write me off/the way you want the world to hear/Wash your hands of all of what you are/and leave me with this depth to bear.”

Not all of “Intents and Ends” is as fast and full of energy as “Intent,” however. Armslength shows off their range in “Salem” without losing their technical ability or their passion. The longest song on the EP, “Salem” slows down the pace while managing to up the angst. Like every pop-punk release there has to be a relationship ballad. Holmes’ vocals and lyrical prowess are the heart of “Salem” as his voice rings out in front of fading guitar noise: “I remember I was just a kid/when I first felt the sun on my own skin/I pulled it over my face/and realized I was

never gonna fit.”Well-recorded and produced, all of Armslength’s

technical ability — ranging from guitarist Dakota Carlyle’s impressive guitar work throughout the EP to drummer Tyler Hall’s rhythm through the post-rock inspired ending to “Salem” — is on full display to be appreciated.

That being said, “Intents and Ends” comes off much prettier sounding than one might expect and leaves listeners desiring the rawness they’ve experienced throughout the rest of the song. Those who have seen Armslength play live in the past can attest to a certain depth and level of emotion that simply cannot be translated into a recording.

Armslength’s “Intents and Ends” is an impressive debut and is sure to garner some much-deserved attention. Where the EP lacks in translating the emotion and energy of a live performance, “Intents and Ends” makes up for it with a notable display of technical ability and creative writing.

Fans of the pop-punk genre are sure to find this release as a new approach while still using the same combination of fast-paced, energy-filled music laid behind catchy vocals.

Look out for Armslength’s debut EP “Intents and Ends” to release later in October with their first single “Intent” to release through Property of Zack by the end of the week. Also, catch Armslength live on Oct. 27 at Fogarty’s with Citizen.

MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 7

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MUSIC ISSUE / WEDNESDAY, OCT. 9, 2013 / PAGE 8

Two decades later, UC band director still going strong

Terren Frenz, director, savior of the University of CIncinnati marching band JOSHUA MILLER SPORTS EDITOR

When he’s not busy writing drills and planning upcoming shows — it takes 40 hours to write drills for one song and every halftime show has at least three — Terren L. Frenz, University of Cincinnati Bands director, is a full-time preacher, teacher, social worker, counselor, recruiter and fundraiser. He is even bus driver if something goes wrong. Band directors have to wear more hats than the tall fuzzy one we see at halftime.

Frenz, whose subtle Inland accent and Pro Football Hall of Fame tie quickly reveal his Northeastern Ohio heritage, where he spent 31 years as a high school band director, predominantly at Marlington High School before his time at UC.

“I had already put in a full career,” Frenz said. “I was already successful and had won most everything a high school band director could win. I had thoughts of retiring, but I got this letter.”

Without question, Frenz remains among the most highly decorated and revered high school band directors in the country. So much so that a 1992 search committee dedicated to revitalizing UC’s long-since declining band — encouraged by several of the few remaining members of the UC marching

band — simply sent Frenz a job offer via letter. “My high school band had just won seven national

championships over a short period of time. Some of the kids in UC’s band had heard me speak at a conference and said ‘Hey, we want to talk to this guy.’ So I guess they did some investigating. I showed up for the interview and the next thing you know here I am.”

Frenz was hired as a drill-writer for the marching band. One year later he was promoted to director, a position that at the time, would have been better described as revitalizer, nay, savior.

“After I got here I realized, you’ve got to put the directorship in a position where people want the job, which was going to take me another whole career,” Frenz said. “I told them I’d stay long enough, regardless of what the situation was, to get the band stood back up. I figured it would be a five-year rebuilding process.”

Twenty-one years later, Frenz is still here.

“What I was told and what I actually found were two different things,” he said of what he realized upon his arrival at UC.

For the better part of a decade before he arrived, the directorship of the campus bands had been left to graduate students.

With a lack of leadership, shortages in funding and scheduling resources, the campus bands dwindled, both in numbers and quality.

“They told me it was a 100-110 piece band,” Frenz said, rolling his eyes. “But in my first month of rehearsals I couldn’t muster up more than 65 people. By the end of the first year we got the band back to about 120 people. We said ‘Look, I’m going to stay for a while, so let’s get to it.’ Fast forward 20 years, there’s 300 kids in the band now.”

Frenz transformed a band, which was very much on the brink of extinction, into 11 separate bands, the largest of which is the marching band, with three full-time directors, a slew of assistants and an ever-growing alumni base.

What the band lacked in the decades prior to Frenz’s arrival was a constant, someone that truly cared about being UC’s band director. That’s what he’s done, because he can’t help it. The band members are like his children.

“My full-time mantra is I’ll treat every kid in the band like they’re my own kid,” he said. “You could be my own son or daughter, I’m probably stricter than their parents, but it’s worked very well. I wouldn’t trade them in for anybody. They’re smart, very happy, very talented, and they’re willing to give away almost all their time, effort and energy for very little in return other than applause.”

That time and effort, both for Frenz and his band, is more than one might think.

“Collectively, we have to maintain the same schedule as the football team, the men’s basketball team and the women’s basketball team. In order to have groups to play for them, you’ve got to practice sometime,” he said.

UC’s marching band logs roughly 200 hours of practice time to perfect one football season worth of halftime performances.

“The law of averages is that it takes 10 hours of practice per minute of a halftime show,” he said.

Of those hours, 100 are logged during a two-week band camp that takes place prior to the start of every school year. Frenz said band camp is nothing liked the crazed love-fest it’s been portrayed as in pop culture. They are too tired to have any fun.

For Frenz, the day-to-day schedule consists of far more than waving the wand and directing practice.

Fundraising, as it has been since he took more than 20 years ago, remains the most challenging part of Frenz’s job. He knows he’ll never have the budget of the Ohio States and Floridas of the world, but he’s done everything in his power to provide as much for the band as he can.

“Those big schools budgets include the bands and stuff,” he said with a hint of understanding frustration. “There’s just not enough money to go around here. I’m not going to throw a rock at them, but they can’t afford to pay for what they want us to do. We didn’t go to the Miami game this year, because we were told there wasn’t enough money to send us any place. That’s 20 miles.”

It costs $5,000 just to send the full marching band to a performance downtown. That’s two miles.

Frenz works 10-hour days to ensure band members receive as much funding as they can. Well, except Saturdays, when 10 hours turns to 12 and the focus shifts to game day … and more fundraising.

“For a 7 p.m. game we usually have to report at 11 a.m., and we’ll do an hour of rehearsal for whatever we’re playing that day,” Frenz said. “Then we take 45 minutes for lunch. Three hours before the game we play for the meet the team event at Sigma Sigma. In the meantime, we’ve sent numerous small groups around campus for fundraising, recruitment and entertainment. After meet the team, we come back and put on our formal uniforms. One-hour before the game, we go back to Sigma Sigma and play our pre-game concert. Then we march back up the hill and prep for our ‘Down the Drive’ entrance.”

The marching band has been preforming its iconic stadium entrance long before Frenz was ever at UC, which means unlucky band members have been falling down the bafflingly uneven stairs of Nippert Stadium for just as long.

“Kids don’t usually fall on the steps, they fall when they hit the field, where inertia and gravity meet each other,” he said.

Even Frenz admits that the tumble taken during UC’s season-opener against Pittsburgh last season, which has since been immortalized by ESPN, was rather hilarious.

“He got us all over ESPN, and he didn’t hurt himself, so it was pretty cool,” Frenz said.

Once they’ve all managed to survive sprinting down 38 flights of stairs, instruments securely in hand, the band members must wait until halftime to display the fruits of their 200-practice hours worth of labor, when they finally get to play.

Through years of bad football, five years of sub-par basketball after the fallout of Bob Huggins versus Nancy Zimpher, hail storms, snowball fights, broken down busses and pennies for funding, the band played. With Frenz at the helm, they’ve played, and played well — every week, every game, every halftime.

“Even when the football team was horrid, couldn’t win a team to save their socks, the band was there,” Frenz said. “The football team, the band, the cheerleaders and a couple of parents.”

The band is a constant because its director cared enough to be one himself.

He’s been through six different presidents and six different athletic directors. And Frenz has no intention of stopping — smirk on face, wand in hand — he’ll give the current regime a run for their money.

“Everyone keeps asking me, ‘Hey doc, when are you going to retire?’” Frenz said. “Well, this is my 51st year and I’m not dead yet.”

PHIL DIDION PHOTO EDITOR University of Cincinnati band director Terren Frenz sits down with The News Record in his office at Corry Garage.